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Orson Welles' classic 1958 noir movie Touch of Evil, the story of a corrupt police chief in a small town on the Mexican-American border, starring Charlton Heston, Janet Leigh and Marlene Dietrich, is widely recognised as one of the greatest noir films of Classical Hollywood cinema. Richard Deming's study of the film considers it as an outstanding example of the noir genre and explores its complex relationship to its source novel, Badge of Evil by Whit Masterson. He traces the film's production history, and provides an insightful close analysis of its key scenes, including its famous opening…mehr
Orson Welles' classic 1958 noir movie Touch of Evil, the story of a corrupt police chief in a small town on the Mexican-American border, starring Charlton Heston, Janet Leigh and Marlene Dietrich, is widely recognised as one of the greatest noir films of Classical Hollywood cinema. Richard Deming's study of the film considers it as an outstanding example of the noir genre and explores its complex relationship to its source novel, Badge of Evil by Whit Masterson. He traces the film's production history, and provides an insightful close analysis of its key scenes, including its famous opening sequence, a single take in which the camera follows a booby-trapped car on its journey through city streets and across the border.
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Autorenporträt
Richard Deming is an award-winning poet and critic, whose work explores the intersections of literature, philosophy, and visual culture. He is the author of six books, including This Exquisite Loneliness, Day for Night and Art of the Ordinary. He teaches at Yale University, USA, where he is the director of Creative Writing.
Inhaltsangabe
Preface: Touching Back on Touch of Evil.1. Noir's Epitaph2. Scene analysis3. Characters and themes4. Final stages and legacyCreditsBibliographyIndex
Preface: Touching Back on Touch of Evil.1. Noir's Epitaph2. Scene analysis3. Characters and themes4. Final stages and legacyCreditsBibliographyIndex
Rezensionen
Engaging. It combines a blow-by-blow account of the thriller's troubled production with a thoughtful rebuttal to Paul Schrader's description of it as "film noir's epitaph", while Orson Welles' shadow inevitably looms large. Total Film
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